It is easy to decide which stories may prove suitable for our magazines that are primarily interested in sex problems, and this does not necessarily mean sex in any too realistic or too sordid sense. The editors who are selecting the material for these periodicals feel that sex is the fundamental motivation in every human act; that therefore its presentation is always interesting, of moment, and bound to intrigue a large group of readers. A certain number of the smaller of these magazines demand liveliness of presentation rather than newness of plot. All are apt to stress a certain up-to-date and social quality. We have a large group of action magazines. They look for “story.” In this group the Street and Smith periodicals are particularly interested in the story that has an American hero and an American environment. Some of the others are not quite so restrictive. Perhaps “a good yarn rattling well told” is the best slogan presentation of their wants. But like all slogans it is unfair. The frequent presence of Joseph Conrad in these magazines certainly would seem to prove that craftsmanship is appreciated. The women’s magazines make a point of carrying as good fiction as can be procured and in some of them we are finding the best short stories of the day. The Pictorial Review, for instance, is not circumscribed in its point of view; it has room for the purely artistic creation; it welcomes warmly the picture of life whose main characteristic is sympathetic narration. Other magazines in this group feel that they should publish only human interest stories as these make the strongest appeal to their particular circle of women readers. Many of the stories in the farm and fireside journals are written with a distinct purpose; to portray intimately some heretofore little known section of the country; to illustrate some new agricultural theory; to create sympathy for some rural situation. But “purpose” is never allowed to destroy story values. Our juvenile magazines make no secret of their aim. It is to influence rightly the changing character, the shifting ideals and aspirations of the growing boys and girls who come under the sway of their story pages. The fiction must be of absorbing interest from the point of view of the young, but at the same time it must contain nothing that would react detrimentally.